[Showrunners David Benioff and Dan Weiss] called me, but I kind of knew already. Obviously there’s lots of trimming going on. It’s all coming to a head and you have to get rid of less important characters that the audience hasn’t had the chance to invest in as much. So I was expecting it. I wasn’t heartbroken. And I was like, “As long as I die on screen…” and they were like “Yeah!” But of course I don’t die on screen. I stay alive, I’m just not going to reappear. I think it’s really clever.
It’s more haunting, I think, doing it this way…
It’s really dark. What I love about this scene is you’re reading it and from one sentence to the next you don’t know what’s going to happen — how Cersei is going to treat her victim. I just thought the delivery of that information was so clever. Especially since the kiss comes before the information.
What was it like shooting that scene?
It was hard work. A lot of blood snot and sweat and tears. Myself and Rosabell had to be shackled. They very kindly put some felt inside the handcuffs so we didn’t get bruised and battered — though we ended up doing that anyway because your acting takes over. The shackles kept coming off so they had to tighten them and then we couldn’t get them off at all. At the end of the day I was like, “I’m stuck! I need somebody to help me!” and they had to cut me out of them. All in a day’s work.
It probably helps getting into Ellaria’s mindset by having something to pull against.
Definitely, any human being that is trapped by somebody else — not only trapped but her daughter is trapped as well. As a parent, all I need to do is think about that and you get [into that mindset] as an actor pretty quickly. But the older I get the more I just leave myself alone in my work. I don’t need to beat myself up before a take. I just go there in my thoughts. I don’t have to think about my dead cat or anything. I like that sense of play.